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Écrivaines Canadiennes Des Années 1970 Women Writing in 1970S Canada Christl Verduyn, Andrea Cabajsky, Andrea Beverley Et Kirsty Bell

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Écrivaines Canadiennes Des Années 1970 Women Writing in 1970S Canada Christl Verduyn, Andrea Cabajsky, Andrea Beverley Et Kirsty Bell Document généré le 2 oct. 2021 20:01 Studies in Canadian Literature Études en littérature canadienne Écrivaines canadiennes des années 1970 Women Writing in 1970s Canada Christl Verduyn, Andrea Cabajsky, Andrea Beverley et Kirsty Bell Resurfacing: Women Writing in 1970s Canada Refaire surface : écrivaines canadiennes des années 1970 Volume 44, numéro 2, 2019 URI : https://id.erudit.org/iderudit/1070952ar DOI : https://doi.org/10.7202/1070952ar Aller au sommaire du numéro Éditeur(s) University of New Brunswick, Dept. of English ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer ce document Verduyn, C., Cabajsky, A., Beverley, A. & Bell, K. (2019). Écrivaines canadiennes des années 1970. Studies in Canadian Literature / Études en littérature canadienne, 44(2), 5–15. https://doi.org/10.7202/1070952ar All Rights Reserved ©, 2020 Studies in Canadian Literature / Études en Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des littérature canadienne services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Introduction: Écrivaines canadiennes des années 1970 — Women Writing in 1970s Canada Christl Verduyn, Andrea Cabajsky, Andrea Beverley, and Kirsty Bell n her MEMOIRS OF A BOOK MOLESTING CHILDHOOD and Other Essays, Adele Wiseman recalled how “the feminist movement had not yet come into being” (88) when she began to write along with Ia host of other women across Canada including Margaret Laurence, Alice Munro, Marian Engel, Margaret Atwood, Helen Weinzweig, Joyce Marshall, Rachel Wyatt, Sylvia Fraser, Mavis Gallant, Betty Lambert, Jane Rule, and Audrey Thomas (87). “As fiction writers, wit- nesses, expressers, instruments of our culture, we took the creative leap,” Wiseman declared. Writing two decades later, Margaret Atwood urged readers to “Jump to 1970” (Burgess Shale 14), a time of important cul- tural moments in the country such as the creation of the Writers’ Union of Canada and the activities of The All-Star Eclectic Typewriter Revue, a fundraising evening in aid of the fledgling Writers’ Union. The 1970s saw many other important cultural developments, such as the founding of Women’s Press, La Nouvelle barre du jour, Les Éditions du Remue- ménage, Le Théâtre des Cuisines, and Fireweed, among other feminist initiatives. Women writers of the 1970s in Canada “saw the world with special vision,” national newspaper critic William French commented in 1976, one that “coincided with the nationalist revival of the late 1960s” (1, 3). By the 1970s, Sylvia Bashevkin noted, a flood of nationalist books and organizations — many of which linked concerns about culture with demands for limits on for- eign investment — began to emerge, and . nationalist opinion, according to mass-level surveys, peaked. Not surprisingly, this pro- cess coincided with the emergence of other new social movements in Canada, including student, environmental, peace and feminist activism. (9, 11) 6 Scl/Élc Women writers were at the forefront of these developments in English Canada and Quebec. Cette période est fondatrice pour le mouvement féministe, pour l’écriture des femmes, ainsi que pour la littérature et la critique littéraire au Canada. Ce numéro spécial de SCL/ELC propose un retour critique et une reconsidération de la production littéraire des femmes au Canada, au Québec, et en Acadie pendant les années 1970. Counter to Nick Mount’s claim that the “Canlit” boom ended in 1974 after “Margaret Laurence ran out of novels” (7), the essays presented here show that Canadian literature flourished in the hands of women writing across the country from the end of the 1960s through to the early 1980s — and beyond. With one or two exceptions, the essays in this issue originated as papers presented at the conference Resurfacing/Refaire surface that took place in Sackville and Moncton, New Brunswick, 26-28 April 2018. The conference was a project that co-editor Christl Verduyn had envisioned for several years. Her students, she noted, had heard of some women writers of previous generations of Canadian literature but were generally not very familiar with their work. To be sure, a number of works by women had received ongoing attention — such as Anne Hébert’s 1970 novel Kamouraska, or Margaret Atwood’s 1972 novel Surfacing, to which the conference title alluded. But other writ- ers who were part of the 1970s vanguard of literary feminism had not — writers “beyond the sacred groves of downtown Toronto,” in Paul Barrett’s words — a “salon des refusés” that included women writers such as Marian Engel, Gabrielle Roy, Ethel Wilson, Elizabeth Smart, Margaret Avison, and Jane Rule (Barrett). Thinking also of the need to critically re-visit French language writers such as Nicole Brossard, Antonine Maillet, France Théoret, or Marie-Claire Blais, Verduyn invit- ed Mount Allison colleagues Kirsty Bell (French) and Andrea Beverley (Canadian Studies and English) and Université de Moncton colleague Andrea Cabajsky (Études anglaises) to join her in organizing a collab- orative two-campus conference. L’objectif était de porter une nouvelle attention critique à la littérature canadienne, en anglais et en français, des années 1970, et ce en revisitant le travail des femmes écrivaines à partir de plusieurs perspectives: le féminisme et activisme de la deuxième vague; les littératures canadienne, québécoise, acadienne, et autochtone à travers le Canada; l’industrie littéraire et les événements littéraires de l’époque; les maisons d’édition, revues, et magazines féministes ; les Introduction 7 festivals et colloques tels que la Calgary Conference on the Canadian Novel en 1978 ou l’International Flat Earth Society des années 1970. Other topics included the recovery of writing by Indigenous and other racialized women; the challenges of researching women writers of the 1970s, such as out-of-print texts; and at the same time the rewards of archival finds and other saved and salvaged materials, all of it ready to be recovered or recontextualized by today’s scholarly community look- ing back to a decade that has been bracketed by the “radical ’60s” and the “postmodern ’80s.” Facilitating the goal of recovery and re-contextualization, the con- ference featured special sessions for dialogue, discussion, and exchange across scholarly generations. Keynote roundtable participants1 who were early scholars of Canadian and Quebec women’s writing of the late 1960s through to the early 1980s in Canada reflected and shared first- hand experience, knowledge, insights, and perspectives on the literary and cultural contexts and developments of the era. Participants newer to the field contributed a variety of approaches: workshops and seminars, Pecha Kuchas and creative sessions of dance and literary readings, and academic papers. Together these multifaceted contributions captured not only some of the many different ways women contribute to cultural discourse but also the conference contributors’ sense of the import- ance and value of revisiting women’s writing in 1970s Canada, and in reconsidering texts that have fallen to the “CanLit” wayside, such as Marian Engel’s non-Bear novels, Sylvia Fraser’s Pandora’s Box, Helen Weinzweig’s Basic Black with Pearls, or Daphne Marlatt’s Vancouver Poems. Presentations at the conference also brought attention to works by Monique Bosco, Connie Fife, Huguette Légaré, Carole Massé, Line McMurray, Elisabeth Vonarburg, and Bronwen Wallace.2 Notably, a number of presentations focused on An Antane Kapesh’s Eukuan nin matshi-manitu innushkueu / Je suis une maudite sauvagesse (1976). A revised Innu version of this text, accompanied by English translation, is forthcoming from Wilfrid Laurier University Press, offering readers greater access to Antane Kapesh’s groundbreaking Indigenous writing. Indeed, work by Indigenous, racialized, and other minoritized writers of this era must continue to resurface in Canadian literary scholarship. Consider, for example, women’s writing in Canada’s Black communities at the time, such as Anna Minerva Henderson’s 1967 poetry collection Citadel, Liz Cromwell’s 1975 anthology One Out of Many, and Dionne 8 Scl/Élc Brand’s earliest publications. L’attention critique portée à ce corpus est lacunaire par rapport à son importance dans l’histoire littéraire, mais les travaux récents cherchent à combler ce manque. The possibilities are boundless, beginning with writing by women in Canada’s Indigenous communities at the time. In this issue, Rebekah Ludolph’s essay on Maria Campbell’s 1973 autobiography Halfbreed offers an example of how revisiting a text unveils interpretive community practices and contexts that limit the full import, meaning, and significance of the work. “Within the context of 1970s eugenic practices and their accompanying ideologies,” Ludolph writes, “nationally invested readers often engaged in damage-centered reading and editing practices.” Taking her cue from Daniel Heath Justice, who argues that Indigenous literatures “are at least as concerned with developing or articulating relationships with, among, and between Indigenous readers as they are with communicating our humanity
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